Buddhist Poetics, Beat “Cosmo-Politics,” and the Maker Ethos: Asian Americanist Critiques of Whiteness in Midcentury American Beat Writing employs Walter Benjamin’s notion of the “ruin”—which is not just a noun or notion, but also a verb, a mode of criticism—to intervene in the ostensibly well-trodden ground of what is known as “Beat literature.” The project broadly argues for the “ruination” of Beat literature, where ruination means not destruction or annihilation, but a return to an unkempt state (as in the image of a ruined building) that more accurately reflects this literature’s many layers of cultural, interpersonal, and transpacific exchange and extraction. Though many have rightly suggested that Beat literature is broadly Orientalist and transpacific in nature, I reveal the specific cultural appropriations, adaptations, and translations that occurred in this period and in these literary texts: the broadly East Asian cultural materials (like Zen Buddhism) so valued in Beat literature and its social communities were derived not solely from “the East” nor from translated Chinese and Japanese texts, but also from the Asians in America with whom Euro Americans were friends and worked alongside. My chapters on Asian diasporic poetry, letters, and autobiographical writing highlight Beat literature’s connections to ethnic studies, settler colonial studies, gender studies, and critical race theory, applying an interdisciplinary approach to text and culture and bringing forward the cultural productions and expertise of Asian/Americans during this midcentury period. Because I am suggesting the work of Asian/Americans be read alongside other canonical Beat texts, their work destabilizes or “ruins” Beat literature, which has been seen as a body of texts that articulate a political, anticapitalist critique of post-WWII and Cold War-era America, but which I show to be reflective of a specific, European American identity grounded in a politics that does not accommodate the effects of settler colonialism and imperialism. The seeming stability and coherence of the category of “Beat” has only been possible because the work of Asian/Americans in this period was erased, unacknowledged. My project’s major intervention may be found in its combination of critique—where I show how whiteness influenced Euro Americans’ artistic choices and cultural appropriations—and recovery, where I reveal from whom and how these appropriations occurred. Further, I suggest that we begin to analyze American Buddhist writing beyond the limited rubrics formerly available to us in “Beat” and avant-garde literatures and in their communities of reception.